More worrisome is Elfman’s replacement, Paul Haslinger, whose resume includes the rock scores for two of the “Underworld” films Paul W.S. Anderson’s “Death Race.” To be fair, Haslinger was a member of synth group Tangerine Dream from 1986 to 1992 and participated in the scores to films like “Near Dark.” However, I’m usually of the opinion that a period picture requires a period sound and the vague Euro-synth of the “Underworld” music does not inspire me. Hopefully, he’ll go for more of an orchestral sound.

Even more worrisome still, Renn Brown over at CHUD makes a strong case that this is a generally troubled production. At the same time, movie history is filled with troubled productions that turned out great and fun-to-make films that turned out to be horrible-to-watch. We’ll see when we see.

* New York film critic David Ansen will be artistic director of the Los Angeles Film Festival (LAFF), writes Anne Thompson.

* Alex Ben Block declares Peter Jackson producer of the year. His methods and approach sound almost Pixar-like in his openness to collaboration. It’s a complicated method: hire good people and listen to them.

* Apparently, Jackson lost all a bunch of weight a few years back simply by swearing off junk food while maintaining a punishing work scheduled during the making of “King Kong,” and he’s kept it off since. Good for him. Judging from the picture in today’s Variety, however, Winona Ryder might consider a regime that includes the occasional milkshake and order of chili cheese fries. Okay, none of our business and, in any case,  the role she is “circling” in Darren Aronofsky’s all-star oddball thriller, “Black Swan,” calls for her to play a veteran dancer, but, my god, those protuberant cheek bones. Part of me just wants her to mainline my mom’s brisket or something.

As for the movie itself, what I’m hearing reminds of just a little bit of Michael Powell and Emeric Pressburger’s “The Red Shoes,” and not just because of the ballet setting. There’s also the underlying psychoses.